We are accumulating more and more data, images and sound snippets. But how can we remember when digital materials marked by decay fail? When formats, players and codecs have become unplayable? Filmmaker and author Iris Blauensteiner (SCHWITZEN) traces remaining data and memories from past projects and lends them a second, ghostly existence.
One hard drive, 2.8 terabytes, remaining data from ten years: Outtakes, photos, sound files, e-mails, script parts, discarded ideas. THE_OTHER_IMAGES is an experimental short film. Ghostly magic scenes emerge from the digital remains and mistakes. The memories are recycled. They demand a changed cinematic experience, a new narrative - a different film.

A musical love letter to Glasgow, TOMORROW IS ALWAYS TOO LONG mixes music, documentary, animated film and, unusually enough, late-night TV formats into an anarchic symphony about the city. Director Phil Collins, (not to be confused with the Genesis musician) teaches at a Cologne University and lives in Berlin. This homage to his father's hometown won the audience prize at Kino der Kunst München.
At the heart of this haunting, hypnotic journey into the heart of Dublin is a cycle of six songs by Welsh musician Cate Le Bon, poignantly interpreted by a number of artists, including a 10-year-old girl and an 83-year-old senior citizen. These intimate, rousing pop pearls are powerfully enhanced by the accompaniment of the Royal Scottish National Orchestra. "A marvel of cinematic art" (Zitty)

Coco is 17 and is desperate to become famous even though she lacks the necessary talent. Coco will do anything for recognition and to avoid becoming an everyday "loser".
She skips school to attend castings, music videos shoots, and to film YouTube clips but faces one humiliation after another and is quickly pushed to her limits. With her "Coco Channel", she tries to expand her notoriety on the internet and create the successful, loved, and confident character she wishes she really could be. As a crossmedia project, connecting film with the online video scene, WANNABE tells the story of a young YouTuber, who builds herself a fictitious world on the Internet.

A SPACE EXODUS is the first part of Larissa Sansour’s science fiction trilogy along with NATION ESTATE and IN THE FUTURE THEY ATE FROM THE FINEST PORCELAIN. Under the common themes of loss, belonging, heritage, and national identity, the three films each explore different aspects of the political turmoil the Middle East.
While A SPACE EXODUS envisions the final uprootedness of the Palestinian experience and takes the current political predicament to its extra-terrestrial extreme by landing the first Palestinian on the moon, NATION ESTATE reveals a sinister account of an entire population restricted to a single skyscraper, with each Palestinian city confined to a single floor. In the trilogy’s final instalment, IN THE FUTURE THEY ATE FROM THE FINEST PORCELAIN, a narrative resistance leader engages in archaeological warfare in a desperate attempt to secure the future of her people. Using the language of sci-fi and glossy production, Sansour’s trilogy presents a dystopian vision of a Middle East on the brink of the apocalypse.

Are today's advertising photographers continuing in the tradition of 17th century Flemish painters? This is one theory director Harun Farocki poses in his documentary STILL LIFE.
According to Harun Farocki, today's photographers also depict objects from everyday life – the "still life". The filmmaker illustrates this intriguing hypothesis with three documentary sequences showing photographers at work creating a contemporary STILL LIFE: a cheese-board, beer glasses and an expensive watch.

In his examination of venture capital, NOTHING VENTURES, director Harun Farocki shows two days of tough negotiations between entrepreneurs and bankers, and reveals some of the pressures manufacturers are facing to stay innovative and competitive.
"What venture capital, or VC for short, actually means is explained in the film itself. Banks lend money only against collateral. Those who have none have to turn to VC companies and pay interest of 40%. Scenes were filmed at a wide range of companies: VC companies discussing projects; entrepreneurs seeking to give shape to their ideas; consultants rehearsing their presentation. In the end we restricted ourselves to just one set of negotiations and used the material shot over two days. What tipped the balance for me was hearing the lawyer for NCTE, the company seeking capital say, "We are a little disappointed by the offer". I felt myself transported into a Coen Brothers film. The protagonists in our story film are sharp-witted and filled with a desire to present themselves. (…) (Harun Farocki)

In the documentary INTERFACE media artist and director Harun Farocki examines his own media work and explores what it means to work with existing imagery rather than producing one's own, new images.
Harun Farocki was commissioned by the Lille Museum of Modern Art in France to produce a video "about his work". His creation was an installation for two screens that was presented within the scope for the 1995 exhibition "The World of Photography". The film INTERFACE developed out of that installation. The German title of the film is SCHNITTSTELLE and it plays on the double meaning of "Schnitt" (cut), referring both to Farocki's workplace, the editing table, as well as the "human-machine interface", where a person operates a computer using a keyboard and a mouse. (3sat, September 1995)

In his influential documentary essay INEXTINGUISHABLE FIRE, the "most important agitprop film of the Vietnam movement," director Harun Farocki reflects on weapons of mass destruction and illustrates the devastating effect of napalm by putting a cigarette out on his hand.
""When we show you pictures of napalm victims, you'll shut your eyes. You'll close your eyes to the pictures. Then you'll close them to the memory. And then you'll close your eyes to the facts." These words are spoken at the beginning of the agit prop film INEXTINGUISHABLE FIRE that can be viewed as a unique and remarkable development. Farocki refrains from making any sort of emotional appeal. His point of departure is the following: "When napalm is burning, it is too late to extinguish it. You have to fight napalm where it is produced: in the factories." Resolutely, Farocki names names: the manufacturer is Dow Chemical, based in Midland, Michigan in the United States. Against backdrops suggesting the laboratories and offices of this corporation, the film then proceeds to educate us with an austerity reminiscent of Jean Marie Straub." (Hans Stempel, Frankfurter Rundschau, 1969)

The installation THE SILVER AND THE CROSS by media artist Harun Farocki examines the 1758 painting "Depiction of the Cerro Rico and the Imperial City of Potosí" by Gaspar Miguel des Berrío (in the Museo Colonial Charcas de la Universidad San Francisco Xavier, Sucre, Bolivia). Farocki uses the medium of video to dissect the painting and its historical layers. In addition to artistic aspects, Farocki also looks at historical context and colonialism.

In his documentary DAY IN THE LIFE OF CONSUMERS, Harun Farocki plunders the footage from 40 years of advertising films, which he edits and orchestrates into an ironic chronicle showing a day in the life of a typical consumer.
"Harun Farocki cuts together countless TV advertisements for coffee filters, hair spray, liquor, cheese slices, fabric softeners and car phones. As a zapper that does not switch from program to program, but from commercial break to commercial break, Farocki mixes the painfully cheerful stereotypes of TV advertising into an ironic caricature of our consumer society. [...] Just as Walter Ruttmann in his silent film classic "Berlin - Symphony of a Great City" edits seemingly randomly scenes to create a mosaic image of Berlin, Farocki constructs from the commercial scraps a sometimes funny, but actually rather nightmarish image of West German society in the advertising universe. "(Tilman Baumgärtel, TAZ, 24.06.93)

The installation I THOUGHT I WAS SEEING CONVICTS by media artist Harun Farocki examines prison architecture and the prison as a work environment from different angles and integrates footage from prison surveillance cameras at the Maximum Security Prison in Corcoran, California.
The surveillance cameras show a pie-shaped segment: a concrete-paved yard where the prisoners, dressed in shorts and mostly shirtless, are allowed to spend a half an hour a day. A convict attacks another, upon which those uninvolved lay themselves flat on the ground, their arms over their heads. They know what comes now: the guard will call out a warning and the fire rubber bullets. If the convicts don't stop fighting now, the guard will shoot for real. The pictures are silent, the trail of gun smoke drifts across the picture. The camera and the gun are right next to each other. The field of vision and the gun viewfinder are conflated...

In his installation EYE/MACHINE I, media artist Harun Farocki explores how military image technologies find their way into civilian life. The film centers on images from the Gulf War which created a sensation worldwide in 1991.
In the shots taken from projectiles homing in on their targets, bomb and reporter were identical, according to a theory put forward by the philosopher Klaus Theweleit. At the same time it was impossible to distinguish between the photographed and the (computer) simulated images. The loss of the 'genuine picture' means the eye no longer has a role as historical witness. It has been said that what was brought into play in the Gulf War was not new weaponry but rather a new policy on images. In this way the basis for electronic warfare was created. Today, kilo tonnage and penetration are less important than the so-called C3I cycle which has come to encircle our world. C3I refers to Command, Control, Communications and Intelligence – and means global and tactical early warning systems, area surveillance through seismic, acoustic and radar sensors, radio direction-sounding, monitoring opponents' communications as well as the use of jamming to suppress all these techniques.

In his installation EYE/ MACHINE II media artist Harun Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what they see when working on the basis of image processing programs.
How can the distinction between "man" and "machine" continue be made given today's technology? Categories of modern weapons technology are shifting: intelligence is no longer limited to humans. The traditional man/machine distinction becomes reduced to "eye/machine" as cameras are implanted to act as eyes into military machines. As a result of the Gulf War, warfare technology gave innovationimpulse which boosted developments in civilian production. Farocki shows us computer simulated images that look like something out of science-fiction films: rockets steer towards islands set in a shining sea; apartment blocks are blown up; fighter aircraft fire at one another with rockets and defend themselves with virtual flares … Will these computer battlefields th suffice or shall we need further rationalization drives for new wars? EYE/ MACHINE II is the continuation of a wider examination of the same subject: intelligent machines and intelligent weapons. (Antje Ehmann)

The installation EYE/ MACHINE III by Harun Farocki explores the concept of the operational image. Images which do not portray a process, but are themselves part of a process, like pictures taken by weapons or surveillance cameras.
As early as the 1980s, cruise missiles used stored images of a real landscapes then took an actual image of the same territory during flight. Internal software compared the two images. A comparison between idea and reality, a confrontation between pure war and the impurity of the actual. This confrontation is also a montage, and montage is always about similarity and difference. Many operational images show colored guidance lines, intended to portray the work of recognition. The lines tell us emphatically what is of main important in these images, and just as emphatically what is of no importance at all. Superfluous reality is denied – a constant denial provoking opposition. (Harun Farocki)

DEEP PLAY by media artist Harun Farocki is a multi-channel installation of the 2006 football world cup finals. The screens combine the artist's own footage, FIFA footage, digital analyses and 2D and 3D animation sequences. This video displays all 12 channels on one screen.
It is common knowledge that football is our life. And, just like life, we are always trying to improve our grasp of it. The joke is that it constantly frustrates our attempts, but that’s also something we try to optimize. Harun Farocki’s work DEEP PLAY is made up of various perspectives on the final of the 2006 World Cup. We see the “clean feed”, the television networks’ raw material. We see individual players on both teams, but also abstract computer-generated representations of the flow of play. The intelligent network of relationships among players who are kicking, passing, receiving the ball and running––a network that absorbs spontaneous individual decisions as well as tactical ideas and habits rooted in the culture of the game – is endlessly complex given the size of the field. This roughly corresponds to the range of possible constellations offered by a group of guppies in a mid-sized aquarium. This may be sublime, but it also makes us sad. (Diedrich Diederichsen in: documenta 12 Catalogue)

In his documentary essay WORKERS LEAVING THE FACTORY, media artist Harun Farocki shows various cinematic depictions of laborers as they exit factories with footage from documentaries, newsreels, industry and propaganda films, and feature films.
Harun Farocki explores the iconic worker scene throughout the history of film. The result of this effort is a fascinating cinematographic analysis in the medium of cinematography itself, ranging in scope from Chaplin's "Modern Times" to Fritz Lang's "Metropolis" to Pier Paolo Pasolini's "Accattone!". Farocki's film shows that the Lumière brothers' sequence already carries within itself the germ of a foreseeable social development: the eventual disappearance of this form of industrial labor. (Klaus Gronenborn, Hildesheimer Allgemeine Zeitung, November 21, 1995)
The first film ever projected is listed under the title "The Workers Leaving the Factory". Chaplin played a laboror, and Marilyn Monroe once exited the gate of a fish factory... but the workers' film has not become a main genre in film history. The space in front of the gate is far from being a preferred cinematic location. Most films begin when the work is over. I have collected images from several countries and many decades expressing the idea "exiting the factory", both staged and documentary – as if the the time has come to collect film-sequences, in the way words are brought together in a dictionary. (Ulrich Kriest)

Documenta artist Farun Farocki portrays the work process of a German architect team in his film of the same name: SAUERBRUCH HUTTON ARCHITEKTEN. "The structures of these two architects appeal to me. They are are lavish... and playful without being arbitrary." Harun Farocki
The architects Sauerbruch and Hutton gained recognition for their design of the GSW high rise in the Kreuzberg area of Berlin. The 18-floor, curved slab buidling has hundreds of windows with blinds, each with a slightly different color from the next. The effect is a monumental composition that changes daily, or even by the hour, as residents shade the sunlight by lowering or raising raise or lower their window blinds.
"The structures of these two architects appeal to me. They are are lavish with ideas while remaining dedicated to ecological efficiency. They are playful without being arbitrary. They are bound to the formal language of modernity without being dogmatic." Harun Farocki

Media artist Harun Farocki's four-part video installation PARALLEL I-IV examines the development of computer animation and its use in video games. This second part PARALLEL II explores how games often have their roots in the philosophy of perception. Available exclusively on realeyz.tv as single-channel video.
"Does the world exist if I'm not watching it?" Farocki explores virtual imagery and the perception of reality.
"The four-part cycle PARALLEL deals with computer animation as an image genre. Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind. PARALLEL l I opens up with a history of styles in computer graphics. The first games of the 1980s consisted of horizontal and vertical lines only. This abstraction was seen as a failure. Today, representations are oriented towards photo-realism." Harun Farocki

PARALLEL III shows the effect of games on the aesthetic perception of war and violence. It belongs to the four-part video installation PARALLEL I-IV by Berlin media artist Harun Farocki. This part examines the development of computer animation and its use in video games. Available exclusively on realeyz.tv as single-channel video.
Video games and the representation of war are increasingly converging. Human beings are represented as virtual objects, and the virtual world surrounding them can be changed with simple act of entering a keyboard command. Does this type of representation consequently affect our perception of real war and violence?

The four-part video installation PARALLEL I-IV by Berlin media artist Harun Farocki examines the development of computer animation and its use in video games. PARALLEL IV looks at how the heroes of computer animated video games navigate their virtual worlds. Exclusively on realeyz.tv as single-channel video.
"PARALLEL IV deals with video games and their animated heroes. The respective players navigate 1940s L.A., a post-apocalyptic, a Western or other genre worlds. The heroes have no parents or teachers; they must find the rules to follow of their own accord. They hardly have more than one facial expression and only very few character traits and these they express in a number of different, if almost interchangeable, short sentences. They are homunculi, anthropomorphist beings, created by humans. Whoever plays with them has a share in the creator's pride." Harun Farocki

Media artist Harun Farocki's four-part video installation PARALLEL I-IV examines the development of computer animation and its use in video games, available exclusively on realeyz.tv as single-channel video. This is part I of the cycle.
"The four-part cycle PARALLEL deals with computer animation as an image genre. Computer animations are currently becoming a general model, surpassing film. In films, there is the wind that blows and the wind that is produced by a wind machine. Computer images do not have two kinds of wind. PARALLEL l I opens up with a history of styles in computer graphics. The first games of the 1980s consisted of horizontal and vertical lines only. This abstraction was seen as a failure. Today, representations are oriented towards photo-realism." Harun Farocki

In making the documentary AN IMAGE, Documenta artist Harun Farocki spent 4 days on the set of a Playboy shoot. As the playmate reveals all, so does Farocki, astutely exposing the interplay between eroticism, media and commerce. realeyz.tv exclusively presents the newly digitized version.
"Four days spent in a studio working on a centerfold photo for Playboy magazine provided the subject matter for my film. The magazine itself deals with culture, cars, a certain lifestyle. Maybe all those trappings are only there to cover up the naked woman. Maybe it's like with a paper-doll. The naked woman is a sun around which a system revolves: of culture, of business, of living! (It's impossible to look directly into or to film directly into the sun.) One can well imagine that the process of creating an image of such gravity requires as much care, seriousness, and responsibility as if one were splitting uranium. AN IMAGE is part of a series I've been working on since 1979. The television station that commissioned it assumes that I'm making a film that is critical of its subject matter, while the owner or manager of the thing that's being filmed assumes that my film is an advertisement for them. I try to do neither. Nor do I want to do something in between, but rather I want to do something that goes beyond both. (Harun Farocki, Zelluloid, no. 27, Fall 1988)"

HOMO ERECTUS is a compilation of five short films by Berlin artist and filmmaker Michael Brynntrup. "An amusing journey through the drag queen scene and an ironic self-reflection of the director - opulent, playful and above all very campy." (LichtSpielDienst, Stuttgart) With Udo Kier, BeV StroganoV and Tima die Göttliche. Titles include: NARCISSUS AND ECHO; THE STATICS - Engineering Memory Bridges; LOVE, JEALOUSY AND REVENGE; SUDDEN AND UNEXPECTED - A Déjà-Revue; ALL YOU CAN EAT.
"Working from a decidedly queer bent, Brynntrup often integrates a personal diaristic strategy, using humour and pathos to subvert and stimulate while creating films which are both intimate and visually stunning." (The Blinding Light!!, Fall 1999 - Alex MacKenzie)
"I see cinema, in essence, not as mass media, but as an individual experience that takes place in the mind of each viewer." (Michael Brynntrup)

GENDER AGENDA is a compilation of eight queer short films by Berlin experimental filmmaking icon Michael Brynntrup. "An amusing journey through the drag queen scene and an ironic self-reflection of the director - opulent, playful and above all very campy." (LichtSpielDienst, Stuttgart)
With Kaspar Kamäleon, Mario Brendel and Ovo Maltine. Titles include NY 'NY 'N WHY NOT; ACHTUNG - RESPECT (concentration chair); E.C.G.1.0.1 (a self-portrait in broadcast and artistic media); IPANEMA LIP-SYNCH; BLUE BOX BLUES; THE OVO (OVO- THE VIDEO); UNPUBLISHED! - A Bonus Track; FACE IT! (Cast Your Self™).
“The personal works of Michael Brynntrup, one of the most prolific German filmmakers working mainly on the underground circuit, are regarded as small jewels of cinematic culture that are very appealing and attract enthusiastic audiences. He is able to integrate a personal diaristic strategy using humour and pathos to subvert, to create films which are both intimate and visually stunning.” (Tampere International Short Film Festival, catalogue March 2004 - Maarit Jaakkola)

THE OVO (OVO - THE VIDEO is a short film by Berlin film artist and icon Michael Brynntrup. "It's not about how a drag queen moves, it's about what she sets in motion." (Ovo Maltine, 16/04/1966 - 08/02/2005).
“The Ovo is a documentary about Christoph Josten, better known as the Polit-queer and AIDS activist Ovo Maltine. Excerpts from talk shows, footage of demonstrations and personal interviews paint a portrait of a fascinating personality.”
(Queer Film Festival Rostock, July 2010)

FACE IT! (CAST YOUR SELF™) is a short film by Berlin-based film icon Michael Brynntrup full of photographs collected from personal profiles in gay chat rooms on the internet. All images are self-portraits shot through mirrors, and in all of them, the digital cameras hide the men's faces. Brynntrup's video, which was removed from YouTube due to its supposedly inappropriate nature, confronts its audience with the new privacy of the Web 2.0. (Impakt Festival Utrecht, May 2008).

BLUE BOX BLUES is an outstanding piece by Michael Brynntrup that captures the violence and tenderness, alongside the dominance and submission, that is found in a single, intimate embrace. (tip Berlin, Nr.11/2005 - Alexandra Seitz)
Technically precise and with his characteristic visual proficiency Michael Brynntrup leads us in BLUE BOX BLUES through one of his perception experiments. He contrasts the spontaneous impression made by a sensual and vibrant photograph showing a lesbian couple in a tender embrace, with a lengthy, meticulous staging in sterile Blue Box Studio. The deconstruction reconstruction succeeds, but comprehending it proves troublesome. (FILM SERVICE, Nr.10/2005, May 2005 - Stefan Volk)
How long does a twinkling of an eye last...? / What all can happen in a moment...? / Slap and...snap - a document about staging and a video about the half-life of still photos.

By Berlin director Michael Brynntrup, one of Germany's most respected experimental filmmakers, ACHTUNG – RESPECT (Concentration Chair) is an amazingly photographed, extremely controversial short film.
This amazingly photographed film was received in Europe with an extreme amount controversy. The Telluride International Experimental Cinema Exposition is proud to announce the North American premiere. Contains explicit material.
(http://www.experimentalcinema.com/programhalloween1.htm, Oktober 2001)
Achtung - Die Achtung (Concentration Chair) takes a close look at the surface of the human body. Photographed over the course of eight years, the film shows six men and one pregnant woman who... all exhibit their tattoos, piercings and scars. With spiritual concentration, a young man begins to actually pierce delicate parts of his body. The explicit imagery, underlined by a faint but intriguing soundtrack, provokes a disturbing, almost physical effect on the spectator. At the same time, Brynntrup's film plays with the fundamental patterns of a Christian theatre of lust, pain and transgression.
(E-M Arts / fondazione morra, Napoli, October 2003 - Florian Wüst)